As Dancer lies hospitalized in a coma, his spiritual alter ego revisits his life, from growing up in a brothel as a child and struggling to beat the long odds to become a top-rated comedian.

The New York Daily World wrote: "Pryor...has undertaken an incredibly ambitious and personally challenging task here, in an effort to come to terms with his drug and alcohol addiction and self-destructiveness which nearly cost him his life.

The result is a sincere, imaginative and impassioned piece that bears the mark of a man who has broad decision-making creative control over his work.

Jo Jo Dancer's content is often too close to Pryor's subjective feelings and responses, lacking the kind of psychological distance necessary for analysis, reflection, and insight that probes the depth of the narrative....The film only touches the surfaces of his life, of the related racial issues, and of the social content of his public performances, leaving audiences stirred, but hungry for much more.

'Jo Jo' seems to answer any questions we've ever imagined as to why Richard Pryor is the way he is....Additionally, the entire supporting cast in the film performs flawlessly.

Stunning performances are offered by a couple of legends who earned their distinction in another artform...Carmen McRae and Billy Eckstine....Other shining performances are offered by Debbi Allen, Fay Hauser, and Barbara Williams....For Richard Pryor, [the film]] makes up for all the recent goofy, non-humorous films he has starred in.